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アナザー・セルフ・ポートレイト(ブートレッグ・シリーズ第10集)[スタンダード・エディション]
詳細はこちら
仕様 | 価格 | 新品 | 中古品 |
CD, CD, リミックス含む, 2013/8/27
"もう一度試してください。" | CD, インポート | ¥2,801 | ¥3,291 |
CD, ボックスセット, CD, 2013/8/27
"もう一度試してください。" | CD, ボックスセット | ¥15,380 | — |
CD, 限定版, 2013/9/18
"もう一度試してください。" | 限定版 |
—
| — | ¥18,500 |
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曲目リスト
ディスク: 1
1 | ジプシーに会いに行った (Demo) |
2 | リトル・セイディ (Without Overdubs) |
3 | プリティ・サロー (Unreleased) |
4 | アルバータ#3 (Alternate Version) |
5 | スペイン語は愛の言葉 (Unreleased) |
6 | アニーズ・ゴーイング・トゥ・シング・ハー・ソング (Unreleased) |
7 | 時はのどかに流れゆく#1 (Alternate Version) |
8 | オンリー・ア・ホーボー (Unreleased) |
9 | ミンストレル・ボーイ (Unreleased) |
10 | アイ・スリュー・イット・オール・アウェイ (Alternate Version) |
11 | レイルロード・ビル (Unreleased) |
12 | サースティー・ブーツ (Unreleased) |
13 | ディス・イヴニング・ソー・スーン (Unreleased) |
14 | ディーズ・ハンズ (Unreleased) |
15 | イン・サーチ・オブ・リトル・セイディ (Without Overdubs) |
16 | ハウス・カーペンター (Unreleased) |
17 | オール・ザ・タイアード・ホーシズ (Without Overdubs) |
ディスク: 2
1 | イフ・ノット・フォー・ユー (Alternate Version) |
2 | ウォールフラワー (Alternate Version) |
3 | ウィグワム (Without Overdubs) |
4 | デイズ・オブ・フォーティ・ナイン (Without Overdubs) |
5 | ワーキング・オン・ア・グルー (Unreleased) |
6 | カントリー・パイ (Alternate Version) |
7 | アイル・ビー・ユア・ベイビー・トゥナイト (Live with The Band,Isle Of Wight,1969) |
8 | 追憶のハイウェイ61 (Live with The Band,Isle Of Wight,1969) |
9 | コパー・ケトル (Without Overdubs) |
10 | ブリング・ミー・ア・リトル・ウォーター (Unreleased) |
11 | サイン・オン・ザ・ウィンドウ (With Orchestral Overdubs) |
12 | タトル・オデイ (Unreleased) |
13 | イフ・ドッグズ・ラン・フリー (Alternate Version) |
14 | 新しい夜明け (With Horn Section Overdubs) |
15 | ジプシーに会いに行った (Alternate Version) |
16 | ベル・アイル(美しい島) (Without Overdubs) |
17 | 時はのどかに流れゆく#2 (Alternate Version) |
18 | マスターピース (Demo) |
商品の説明
内容紹介
2013年5月24日の誕生日で72歳を迎えた“ロックの神様"ボブ・ディラン。デビュー50周年だった、昨年2012年9月26日発売・通算35作目のオリジナル新作 『テンペスト』に続き、ブートレッグ・シリーズとしては2010年『ザ・ウィットマーク・デモ』以来3年ぶりとなる第10弾は、40年以上の月日を超えて甦る、1969年~1971年期の幻のセッション音源。1970年『セルフ・ポートレイト』前後のアウトテイク集で、1969年の『ナッシュヴィル・スカイライン』から1970年『新しい夜明け』の時期の貴重なレコーディング・セッションでの未発表音源が中心となるのではないかと噂されている。初回仕様は超豪華ボックスセットで4CD。『Tell Tale Signs』の時の輸入初回限定のものと同じような形態で、外箱(約21cm X3cmX20cm)/ハードカヴァーのスペシャル・ブックレット(40P+4枚のCDを収納)と写真集(JOHN COHEN PHOTO BOOK 144P)を収納。日本盤は限定3000セット。通常の2CDは56Pブックレット付き。いつものブートレッグシリーズの仕様。どちらも日本盤のみ、高品質Blu-SpecCD2仕様となります
【通常盤】解説・歌詞・対訳付/スタンダード・エディション:2CD(Bootleg Series仕様)/日本盤のみBlu-Spec CD2仕様
メディア掲載レビューほか
2013年5月に72歳を迎えた“ロックの神様”こと、ボブ・ディランの通算68作目、「ブートレッグ・シリーズ」としては2010年『ザ・ウィットマーク・デモ』以来3年ぶりとなる第10弾。40年以上の月日を超えて甦る、1969年~1971年期の幻のセッション音源を収録。 (C)RS
登録情報
- 製品サイズ : 14.66 x 1.93 x 12.98 cm; 244.94 g
- メーカー : SMJ
- 製造元リファレンス : SNYJ6620063.2
- 時間 : 1 時間 53 分
- レーベル : SMJ
- ASIN : B00DS4KFM8
- 原産国 : 日本
- ディスク枚数 : 2
- Amazon 売れ筋ランキング: - 172,355位ミュージック (ミュージックの売れ筋ランキングを見る)
- - 32,743位ロック (ミュージック)
- カスタマーレビュー:
カスタマーレビュー
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トップレビュー
上位レビュー、対象国: 日本
レビューのフィルタリング中に問題が発生しました。後でもう一度試してください。
DISK1&2については・・・
通常版と同じみたいです。数曲「へぇー」と思える曲がありました。なかにはやっぱり発表済のほうがイイナともおえるものあり。(当たり前ですが)
これまでのbootlegシリーズは1-3までと、ロイヤルアルバートホール(ザ・バンド一緒面)とローリングサンダーツアーは涙ものでした。なので、今回はまあまあかと。
それでも★5つの理由はワイト島ライブです。30年近く前に買った海賊版はボロボロの音質でしたから。本当に待ちに待ったライブです。
ブックレットは、同じような写真は枚数減らして1冊にし、その分値段安くしても良いかなと思います。★マイナス0.5
ただ、ワイト島CD盤面に昔のディランbootlegジャケットに必ず刷られていた「ブタのトレードマーク」がご愛敬なので、★プラス0.5 さしひき0です。
ちなみに輸入盤ですが私のCDプレヤーではエラーにて再生が途中で止まりました。iTunes@Macで1回リップしたものをCD-Rに焼き直したCDは問題なく再生できました。なんでやねん?
CD4「セルフポートレイト」はリマスターとありますが何処が良くなったのかわかりません。
最近の「ストリートリーガル」のリマスターの良さから比べると????です「ニューモーニング」リマスターの方がはるかに差が感じられます。
しつこいですが、それでも★5つです。
※ 一月弱聞いた追記
CD1-2を「まあまあ。」と書きましたが、訂正「なかなか!」です。
未発表だったトラディショナルの数曲とてもいいです。
プレイリスト作成して、ヘビーローテションしています。
(後出し失礼しました。)
最近ではディランの新譜はなかなか手が出なくとも、「ブートレグ・シリーズ」はこれまで出る度に買ってきた(国外盤・国内盤を含めどのバージョンを買うかは毎回熟慮するが、最上級のものは買ったことがない)。ほぼ毎回興味深い切り口で過去のディランを切り取っており、しかも内容的にも極めて良質なこのシリーズであるが、今回の作品のレベルの高さには正直心底から驚かされた。
一般的にも最も人気のない「セルフポートレイト」の別テイク集であり、世間的にそれ程売れる筈もないが、恐らくこれはディランというミュージシャンを知るためには絶対の必聴盤である。少なくとも私にとってはこの音源で初めて'60年代と'70年代のディランが繋がって聴こえた。ディランがずっと「凄いミュージシャン」であり続けたこともこれを聴いて初めて了解された。
しかしそれでもあの「セルフポートレイト」を改めて買って聴いてみようという気にはならないだろう。私はこれまでの経験から自分の若いころの耳が今でもそれ程間違っているとは思わないからだ。あの作品の音はどう贔屓目に見ても韜晦に過ぎる。そしてディランが描きたかった音楽的な「自画像」はむしろこの「別テイク集」の方で繊細かつ芳醇に表現されており、それを十分に堪能することができる。その意味では今回も私にとってはスタンダード版の国外盤で充分だ。
(追記2013.9.14)
その後気になって「レココレ」の特集号も読んでみたけれど、データ以外に目新しいことは書いてなかった。だけど改めて思ったのは、この時期のディランの「声」をすごく気にしてる人が多いってこと。スムーズで良い声が出てたんだから単純にいいじゃないって思う。それにディランの声ってその後も随分変わってきているし。元々オペラ歌手じゃないんだから、年齢や時期と共に声も変わって当然。それに歌手が声色作るのも当たり前だし。僕にとってはあのクルーナー・ヴォイスで初期のように弾き語りやってたのが衝撃だった。あとワイト島ライブを褒める人も多いけれど、聴いてみたらディランのライブのなかで特に出色って訳じゃない。でも映像が残ってるなら生きているうちにぜひ観てみたいです。
最低2名からザ・バンド、ナッシュビルのスタジオ・ミュージシャン達とのセッションは楽しいです。
ディランといえばハーモニカとギターだけの演奏イメージが強いですが、やはり仲間たちとのアンサンブルは素敵です。
聴いていて飽きません。
懐かしい若い張りのある声が嬉しい
GREATEST HITSⅡからの UNLEASEDが1曲
やっぱり あるんですね
1枚にまとめて ききたいですね
他の国からのトップレビュー
My starting perspective was that I generally like this era and have long considered "New Morning" to be one of Dylan's top releases. However, I cared little for "Self Portrait" and "Dylan" save for a few scattered gems. In order to get to an ideal frame of mind to review this I avoided all liner notes and sequestered myself and my wife for two weeks on an almost vacant beach. I took along "Chronicles Vol 1" and studied it along with the Wikipedia Dylan LP ring from "John Westley Harding" through "New Morning". I brought along all released material from that era including some Bootleg Series outtakes from the period with George Harrison and Johnny Cash. What? Am I some rich retired millionaire who can simply fly off and dedicate this kind of effort to a review? Nope. We were just a harried and harassed couple, sick of our jobs and subject to an unexpected stream of negative chaotic events over the past 2 years. We had arranged for a badly needed off season vacation with a mindset to hide from the world's cross hairs, much as Dylan and his family were doing in these years albeit for much better reasons and on a grand scale. Still, we were in that mode in our little world and this release came out just as we were to depart. Upon realizing that Amazon allowed immediate mp3 download I grabbed it along with Chronicles on the way out the door. I've just picked up the physical package 3 weeks later, but I'll crack the shrink wrap after I review to avoid any influence from the liner notes. Have I mentioned that I'm in an ideal state of mind to review this?
Without exception, all of this material is better than or equal to the previously released versions. Here we find Dylan in great voice, and it is his natural voice without any affect whatsoever. Critics have written that he had an extra octave on New Morning and indeed Dylan has claimed that his voice throughout this era was sweet from quitting smoking. Not so. That's typical Dylan media manipulation and it's patently absurd to think that smoking cessation could change the voice of a young man in his early 30's to that degree, particularly as the main difference is far more stylistic than tonal in nature. Further, Dylan had an additional octave beyond this material on his very first release as clearly demonstrated on the yodeling in the "Freight Train Blues" recording. Shift forward 3 or 4 decades and we have the croaking Dylan of the last 5 releases, the raspy Dylan DJ of Theme Time Radio Hour and the wheezing, creaking Dylan of the Mike Wallace 60 Minutes interview. I just have to laugh as we also have recent recorded evidence of a silky smooth Dylan speaking voice. "Manipulator of crowds" indeed. The fact is that Dylan's vocal command has always been nearly unrivaled and this hasn't changed. Outside of Billie Holiday I have yet to hear another vocalist who could match Dylan's ability to intensively focus to the point of giving every single syllable on "Blonde on Blonde", "Highway 61" and "Blood on the Tracks" its own special considered treatment. In this era, he chooses to treat honest folk and country songs with an honest voice. That's an artist's choice, a good one in my opinion and much of the reason why the casual radio listening public generally enjoyed the best known work of this period, "Lay Lady Lay", without any of the usual complaints about "that awful Dylan voice".
New Morning - 5 stars all the way
To me the "New Morning" material here is what "New Morning" should have been. In "Chronicles Vol 1" Dylan wrote of how the press was waiting for his next move, his next vision, denied that he's the voice of a generation, etc all of which is pretty true. He then sequed to a car ride conversation with Robbie Robertson of the Band where Robertson asks "So, where do you think you're going to take it [the music industry] next?" and Dylan claims that he couldn't believe that even Robertson doesn't get it, that Dylan isn't a leader, etc. But these are two quite different topics and this is merely an example of Dylan's typical word games. Dylan wasn't the voice of a generation, nor was he a movement leader. However, along with the Beatles, he undeniably had been setting the musical direction in folk, folk rock and rock for nearly a decade at this point. In fact, this was exactly the problem, the very role from which he was attempting to extricate himself. Dylan easily could have taken the music industry in a new direction with "New Morning", and in my opinion this material proves that he was considering doing exactly that. I believe that he was wrestling with this decision and that the incredible horn based title track of "New Morning" as included here could have been a startling genre changing #1 single in 1970. That of course was exactly what Robbie Robertson was asking about, totally within Dylan's power to do and indeed what he had already been doing for years.
The previously released "New Morning" title cut is a great song in its own right with a sparse, stripped down acoustic/electric arrangement kicked along with a nice groove by Russell Kunkel's typically stellar drumming. But this alternate full blown horn based "New Morning" that we have here is an animal which simply cannot be contained. It would demand radio play as surely as "Like a Rolling Stone" had in the prior decade These horns are commanding; alternately brash, ballsy, melodic, triumphant and even humorous as the song calls for it. The electric and acoustic guitar overdubs that have been added back in are also spectacular. After 3 solid weeks of listening I still cannot believe how compelling this take is. All of the other original takes from "New Morning" included here are similarly better and quite different from the release.
Dylan wouldn't approach this level of orchestration again until he was fully out of hiding in the late '70s "Street Legal" and throughout the '80s and '90's starting first with the incredible horn Tour de force "Brownsville Girl". It is important to realize that when "New Morning" was released in 1970 it was to a post Woodstock/Altamont/psychedelic era into a directionless vacuum which would not be filled until the mid '70s disco direction. Had this horn based "New Morning" been released, we would have had an entirely different 70's scene. Late 60's/early 70's soul & Motown artists would have quickly added more brass. David Bromberg's Chicago big band concept (did it start in these "New Morning" sessions?) would have been bigger and more successful. The Stones would have added bluesy horns in a flash.. there would have been no Rolling Bee Gee's "Emotional Rescue" LP. The 70's would have been very different, far more diverse. New Wave and Rap may well have been avoided... ahhh, well... we all have our dreams.
The alternate takes of "Went to See the Gypsy" are fascinating. The originally released Gypsy has this great understated electric guitar which just hangs back throughout the entire tune with very few, always tasteful, jagged riffs... invariably at just the right time... all just waiting to cut loose at the end. However, in the end the guitar does kick in and sizzle but it never quite cooks and that is maddening although it really is a great cut. Here however, we have an early acoustic demo version and I'm going to guess that it's David Bromberg playing lead on it because his playing is as recognizable to me as his face. He plays melodic riffs and games with Dylan's vocals throughout, but there are gaps in the song... key lyrics and ideas missing. But it all is just great. The final lyrics on the released version (and here as well on a second great keyboard based Gypsy) is better and details backing "He [the Gypsy] did it in Las Vegas, and he can do it here..." are more fleshed out. Maddeningly though, the final lyrics do drop the single best lyric (only heard here): "I contemplated every move, or at least I tried". But to be honest, it was dropped as it really didn't fit the rest of the verse. That's how one can tell that this is an early version as typical Dylan outtakes have substantially different poetry and imagery which arrive at the same meaning. For example, on "Blood on the Tracks", "Idiot Wind" contains "I ran into the fortune teller who said beware of lightning that might strike. I haven't known peace and quiet for so long I can't remember what it's like" but the original had "I threw the I Ching yesterday, it said there might be some thunder at the well. Peace and quiet's been avoiding me For so long it seems like living hell". Very different, yet the same vibe and meaning. So we are still waiting for an ultimate version of Gypsy with something akin to the final lyrics but I'll be enjoying the three that we now have for at least the rest of my life.
One song which came off truly badly on "New Morning" was "If Dogs Run Free", due to horribly misplaced and discontinuous skat singing which rendered it all but unlistenable. Here however we have the same backing vocalists with much better yet equally quirky jazz tinged vocal arrangements. "Time Passes Slowly" which was beautiful before is even better now, more rhythmic, a little better arrangemed and some great "la, la, la-ing" vocal work from his Bobness. And there is still yet another great arrangement of it as well on this same release! It is just all too much... considering the full impact of what "New Morning" would have been. There is also some ghostly keyboard throughout these sessions which to my ear might be the same player who participated in the original New York sessions for "Blood on the Tracks".
I've left a lot out, there is just so much more to say and tracks that I haven't mentioned. But this is essential listening.
Self Portrait - I waffled between 4 & 5, but there is no choice. 5 stars
The Self Portrait/Dylan portion of the release is complicated for so many reasons. In "Chronicles Vol 1", Dylan notes that he recorded covers, threw them against the wall and released whatever stuck. But he also writes about how he was intentionally trying to drop out of the public eye and he later told Mike Wallace that he had intentionally made some bad albums in this era. Although it did contain the beautiful "Copper Kettle" and a nice take of Paul Simon's "The Boxer", it is clear that what really "stuck" for him was a release of lesser takes which could serve to diminish his profile. That is not so on this release. Incredibly beautiful takes of tunes such as "Pretty Saro", "Tattle ODay", "Spanish Is The Loving Tongue", "Thirsty Boots" as well some of his own tunes ("I Threw it All Away" & "When I Paint My Masterpiece") are easily as good as anything that he's ever done.
The "Self Portrait" material is yet further complicated in genre and song selection in that his fans were generally not interested in their protest and electric folk hero moving to a soft middle of the road folk/country genre, let alone doing covers. True, Dylan had picked up so many of these tunes in the Gaslight Van Ronk/Peter, Paul and Mary scene followed by the Joan Baez/Eric Anderson London hotel rooms as documented in "Don't Look Back" but fans of the time weren't clued in to that. Later early '90s Dylan releases "Good As I Been to You" and "World Gone Wrong" were also all covers and far better accepted even though less than a third of the material was well done. But the original "Self Portrait" had less than 3 good covers on a double album so you certainly can't blame the fans. Also, by the '90s people were used to Dylan changing and blues were more palatable to his core audience than folk and country can ever be.
But one insurmountable problem remains with Dylan doing covers. Simply put, most artists' top signature songs are just not going to rank as top or even second tier Dylan songs. This is true of "The Boxer", "Thirsty Boots" and all of the others here except for a few of the traditional ones that I noted above. Good as Dylan's covers are, the material simply does not equal his own. For example, his takes on standards such as "Alberta", "Days of 49" & "Little Sadie" would easily rank as career best signature efforts for country and folk/old time artists ranging from Willie Nelson to Doc Watson. But in the Dylan pantheon they simply don't rank at all and are now gone from my iPod after 3 weeks as are most of the original "Self Portrait" versions.
But I can't hold that against Dylan in ranking this release as they are top takes in their genre. Unless Amazon lets us go to 6 stars for Dylan or limit other country, folk and old time artists to 4 stars, we just have to accept that other artists in this genre can and do get 5 star reviews for far lesser takes. So the Self Portrait/Dylan half of the collection gets 5 stars as well in my book.
E la musica ? Beh, Dylan lo si odia, lo si ama, a volte entrambe le cose in tempi diversi... I due cd di inediti mostrano quanto questo signore era capace di fare e poi di buttare via, insomma chicche per tutti i gusti, alti e bassi, ma almeno una decina di brani valgano da soli l'acquisto. Idem per il concerto all'isola di Wight con la Band: confrontato con quelli del 1974 (Before the flood) è un po' fiacco, ma come pezzo di storia della musica non ha prezzo, e poi contiene arrangiamenti molto diversi da tutti quelli sentiti finora.
In conclusione: chi voglia ancora gustare la grandezza di questo immenso artista è nelle Bootleg Series che deve andarla a cercare (pensate ai tre cd di Tell Tale Signs, che contengono "scarti" superiori a qualunque cosa Dylan abbia fatto negli ultimi dieci anni) C'è solo da sperare che la Columbia continui a dare fondo gli archivi!